How to go from couch potato to motivated runner

Set goals.

After the initial ???starting out??? period, set realistic goals for yourself. Goal setting involves making a personal investment, and when achieved can greatly enhance motivation. However, you want to be careful not to move too fast. Be patient with your mind and body!

Chart your progress.

Sometimes it helps to have a visual aid. Cut out a picture of your ???ideal runner??? and tape it to your cupboard or refrigerator, with a chart for your distance and times. Actually ???seeing??? progress is a great way to maintain motivation!

Tune in to your body.

Experiment with different times of the day, if possible, to find the time when your body performs most efficiently. This can be very different for some people, and is one reason that many are not successful. If you are trying to run in the wee hours of the morning, and your peak performance time is late afternoon, then you will feel tired, sluggish and far less motivated.

Equip yourself with the right tools.

Comfort is the key above all else when you are just starting out! Visit your local running store for advice on the proper gear (shoes, socks and other clothing) for your running level. Make sure that your shoes and socks fit properly, feel great and that all of your clothing is weather appropriate. Add a pedometer, a water bottle belt, or an IPod into the mix if it makes your run more enjoyable.

When you hit a rut, shake things up!

Sometimes it just takes a tiny change to recharge our motivation levels. Chart a new route or switch to a treadmill for a change of pace. Try running with a partner or alone, depending on your current circumstance. Load some energetic new tunes onto your iPod or check out a new pair of running shoes.

Exercise your body, relax your mind.

Try interrupting your running week with a day for yoga, tai chi or meditation. Not only will this help to break up the monotony and improve your focus, but a little less stress never hurt anyone!

Staying motivated to run is a long-term process, but just starting is the hardest part. Everyone has their own unique formula to stay motivated, but with consistency and attention to the ideas above, the experience will be much more enjoyable.

Earth Hour 2010, Find out how you can get involved.

Whether you are an individual, a business, a school or a city, you can show your support for Earth Hour by turning off your lights at 8.30PM on March 27 wherever you are on the planet. If you would like to find out more about running Earth Hour in your own country, city or town then please contact us.

Earth Hour - Kids

You can support Earth Hour by:

  1. Turning off your lights at 8.30PM on March 27
  2. Showing your support and adding yourself to our world map
  3. Adding Earth Hour widgets, logos and banners to your blog or website to help us spread the word
  4. Talking about Earth Hour in your social network by updating your Facebook status, grabbing a Twibbon, tweeting about your support, and more
  5. Get together with your friends and family, by hosting an Earth Hour party or holding your own candlelit affair
  6. Rally your local council or community group to run an Earth Hour event for your community
  7. Encourage your employer and workmates to take part in Earth Hour and make energy savings every day
  8. Make an Earth Hour Lantern as a symbol of hope for the future
  9. Be creative! Find a new way to mark Earth Hour and let us know all about it!

Earth Hour - Vietnam Crowd

 

Bidders for the 2018/2022 FIFA World Cup??? videos as seen on FIFA official website.

Bidders for the FIFA World Cup™ 2018/2022 – Australia

 

Bidders for the FIFA World Cup™ 2018/2022 – England

 

Bidders for the FIFA World Cup™ 2018/2022 – Netherlands/Belgium

 

Bidders for the FIFA World Cup™ 2018/2022 – Indonesia

 

Bidders for the FIFA World Cup™ 2018/2022 – Japan

*Been looking for Japan bid video everywhere beside the one on FIFA website but found nothing, even the unofficial one. Please send comment with the link if you find one. Original link for Japan video*

 

Bidders for the FIFA World Cup™ 2018/2022 – Korea Republic

 

Bidders for the FIFA World Cup™ 2018/2022 – Qatar

 

Bidders for the FIFA World Cup™ 2018/2022 – Russia

 

Bidders for the FIFA World Cup™ 2018/2022 – Spain/Portugal

 

Bidders for the FIFA World Cup™ 2018/2022 – USA

Asian Debate: Which Of Asia’s 2018/2022 World Cup Contenders Is The Best Bet? – Goal.com

Indonesia (2022 only)

Star Power – As yet nothing. FA chief Nurdin Halin was busy in Jakarta, in the words of the bid team, helping the government with its plan to increase exports.

Video – Good and focused on Indonesia’s strengths such as the beauty of the country, the location within South-East Asia, the hospitality of the people and the passion for the beautiful game.

 

The Indonesians Love Their Football

Pros – The friendliest bid. Also, taking the biggest sporting event in the world to the biggest Muslim nation has its appeal and does the fact that south-east Asia as a whole is crazy about football. It would also do wonders for the country’s standing.

Cons – Infrastructure, football and otherwise, would need serious investment and it is hard to see a mention of Indonesia and 2022 without the word terrorism – the smoke from the July bombings will take time to fade.

 

 

 

David Belle interview on District 13: Ultimatum

Nicole Powers: This is the second movie in the District 13 franchise. How did it come about?
David Belle: Luc Besson called me to see if I was interested in doing a follow up adventure. As far as I was concerned there were no problems at all.
NP:
The screenplay was written by Luc Besson, who also wrote The Fifth Element and The Transporter. What did you like about this particular script?
DB:
I liked the storyline in general. I thought it was a good action film. The character is a little like me, not in everything, but I felt pretty close to that character, and I was willing to embark on this adventure.
NP:
Obviously it’s an action-based film. Did you work with Besson in the construction of the action scenes at the writing stage or was it more of a case of collaborating with the film’s director, Patrick Alessandrin, at the point when you were preparing to shoot?
DB:
As a matter of fact when Luc writes the action he doesn’t write that much detail. He leaves us some room for maneuver and he allows us to make some proposals on the action. Then he picks what the best solution is and we move forward like that.
NP:
Which was the hardest scene to shoot?
DB:
The whole shooting was difficult. Keep in mind we were in top form so in the beginning you do one of these stunts and it’s pretty easy. You do the scouting of these scenes and you say, “Ah, that’s going to be easy,” and you say, “I’m going to do this during the shooting.” Then it turns out that something that was initially anticipated as something that was going to be easy turns out to be quite difficult. You’ve got to be very careful because at the end of the shoot you’re exhausted. But we’re under the same amount of pressure throughout the whole shoot, however, I should say, since we rehearsed in advance there weren’t as many problems as one might have expected.
NP:
I guess the issue of physical tiredness is compounded if you have to do multiple takes.
DB:
Well yes, that is true. I should add that we tried to spare our forces, save our energy, as much as possible. When we had a stunt scene, we would rehearse the scene two or three times in advance — everything but the stunt itself. Then we would do the shooting in just one take. We would rehearse it two or three times, when we were all psyched and we were ready, we would hit it and we would just do it. That was our policy for stunts which were really dangerous.
NP:
Were there any injuries on set?
DB:
I injured my lower arm. We were doing a chase scene in the Gypsy Quarter and there was a police car chasing me. So I’m running and I made a sudden turn and my arm got caught on a doorknob. The doorknob went into my arm. I needed five stitches. The doctor told me I had to rest for a week, but the next day it seemed like the stitches were holding so we started on the roof again.

The thing is, that door was supposed to be closed, but someone has left it half open. So when I was running, just like you might get your bag caught on something that’s sticking out, that’s what happened with my arm.

NP:
Where were the rooftop scenes shot?
DB:
On the roofs of Serbia.
NP:
Were there any wires or other safety equipment used in those scenes?
DB:
There were certain scenes, the scenes that were truly dangerous. Sometimes we had a cable, sometime we had a safety net, because sometimes we would have to rehearse or shoot a scene a couple of times until we got it right. With fatigue setting in you just don’t know how you might react, and you’re 20 meters up in the air, so sometimes we would shoot with a safety net. But generally speaking, we were free, our movements were free.
NP:
The way the action scenes are cut together to pumping techno music, they very much have the feel of a music video. Were you happy with the way everything turned out?
DB:
Generally speaking I like the film. As far as the music’s concerned, if I’m watching the film and I don’t like the music I just turn off the sound and put on a music track that I like. But I would have to say I generally like the music. It really meshes well with the pace of the film I believe.
NP:
Going back to how you first started parkour, I know you had military and martial arts training, but how did a type of movement you used to run across town become something that you realized was a stylized thing of its self, something you could make a career out of?
DB:
Of course, I was very active in sports when I was small, but it was because of my father that I discovered parkour. It was he who transmitted to me this art though his experience in the army and later as a fireman. He had worked on his own physical conditioning and I realized that the movement has a useful side to it. That you can move around to help people, to aid people, and not just to be an artist or to perform acrobatic tricks. There’s a more profound side to parkour.
NP:
With parkour there also seems to be a connection to your inner child. If you look at the way a child walks along a pavement, the last thing they want to do is walk in a straight line. They want to jump across cracks in the pavement or play stepping stones, and if there’s something to jump up on, instinctively they’ll want to jump up on it. Parkour seems to be very much about getting in touch with your inner child and taking the interesting way, rather than the easiest route.
DB:
I think you summed it up in a nutshell. That’s what it is exactly. That’s the first time anybody has given me the proper definition of parkour. Bravo Nicole!
NP:
Merci beaucoup! How has it changed since you started doing it? How has the art progressed?
DB:
It’s sort of like life. Initially the obstacles aren’t too high, and as you gradually gain increasing self-assurance and greater amounts of confidence the obstacles are higher, and when you fall it hurts more. So you learn through good technique not to take stupid risks. I didn’t ever want to give the impression that practicing this movement is crazy. I wanted to show that there’s a method that allows you to overcome obstacles, to navigate obstacles without taking major risks.
NP:
What do you do to train on a daily basis?
DB:
I’ve worked on the foundations so much, it’s similar to martial arts. When you practice a jump thousands of times for eight hours a day straight, your body develops a memory of it. You don’t have to be practicing that everyday from a 20 meter high rooftop. The question for me now is to maintain this physical conditioning. Now I train less. I do it more by feeling. I don’t have the same perspective anymore. My goal is to last vis-à-vis my age. I want to make sure that whatever my age is I feel good inside my body, and that I don’t have the impression of destroying myself.
NP:
Right, you don’t want to over-train.
DB:
That’s right. I don’t think it’s worthwhile. It’s not worth it to over-train. You know, we all have a certain lifespan. It’s not like we’re going to live 150 or 200 years and I could say, alright, I have 50 years to progress. Life goes by and it’s full of things to do, and I don’t want to get stagnated and be like an old karate professor who’s 70-years old and keeps repeating the same movement. Today I do parkour, tomorrow I might play the piano, maybe the next day I might go fishing. I don’t want to feel anchored. I want to continue to move, and of course I want to continue to practice my sport. But I’m trying to listen to my body and I try to always be interested in other things. I don’t want to deprive myself of those other things just for the sake of parkour.
NP:
I guess part of that goes back to maintaining the enjoyment by nurturing your inner child. It’s something that gets forgotten as we get older, but it’s important and intrinsic to the discipline too.
DB:
Well you know I think everyone has a trigger in their lives and that’s what parkour was for me. It’s like someone who plays music as a kid, and then, through music, discovers art in general, and beauty. He may not play music [anymore] but he may go on to other things, but the trigger, the detonating influence was music. Well that’s what parkour was for me. We all have something that when we’re young we discover, and that something will lead us to a world of other discoveries. That’s what parkour has done for me. .
NP:
So can you see yourself down the line taking acting roles where the physicality is less important? Perhaps even roles that don’t requite parkour?
DB:
Well if movies give me that opportunity, I would take it up with the greatest of pleasure.
NP:
Finally, I know you originally took up parkour with very practical, perhaps even lifesaving applications in mind. Are you doing anything to teach the next generation this skill and the practical applications too?
DB:
You’re completely right, we’re already working with the firemen of Paris imparting parkour techniques, and we’ve set up a program with the city council of Lisses to set up a place where soldiers, policemen, young people — anybody engaged in high risk professions — can come and get training. It’s not enough to just train in a gym. There we can move around a bit. We really can’t explain the sport in such situations, so these special places we’re setting up are much better for that.
NP:
Thank you for taking the time out to chat, and good luck with the movie in America.
DB:
Merci Nicole.